Mirror Mirror (1990)

A title I have been aware of for years, but somehow never got around to seeing, Mirror Mirror is a decent enough, if unspectacular, horror movie that benefits from some interesting names in the supporting cast.

Rainbow Harvest stars as Megan Gordon, a young woman who has just moved into a new home with her mother, Susan (Karen Black). Moving into a new home means also integrating into a new school crowd, which Megan finds difficult. But things look set to improve when she makes a friend in Nikki (Kristin Dattilo). They may improve even more as she starts to inadvertently draw some power from a mirror that sits in her new home. 

Directed by Marina Sargenti, who also co-wrote the screenplay with about three other people, this is an odd, but not unsatisfying, mix of offbeat character moments and standard “Carrie-esque” fare. The mirror itself may be the main supernatural force at the heart of the film, but everything becomes much more interesting when Megan starts to realise what is going on, and subsequently starts to enjoy her power. It's worth noting, however, that this is a tame horror movie, with the death scenes lacking any major bloodshed and gore. Not that any horror always needs loads of the red stuff, but this would have been more fun with added splatter. At least there are some good special effects used in a couple of key scenes.

Harvest is good in the main role, maintaining a persona that never feels completely malicious, even as her actions become worse and worse. Dattilo is perfectly fine in her role, even if it is a much easier one, and Charlie Spradling is good value as the bully, Charleen. There are some young males in the cast, but they make much less of an impression. Karen Black doesn’t get enough screentime, despite having a couple of superb scenes with the inimitable William Sanderson, but you do get a decent number of little scenes featuring the much-loved Yvonne De Carlo (playing someone who learn of the history attached to the mirror), and that makes everything better.

Very derivative, easily forgettable, and lacking one standout sequence to make it one to recommend, Mirror Mirror nevertheless entertains for the runtime. And I will inevitably check out the sequels one day. 

6/10

If you have enjoyed this, or any other, review on the blog then do consider the following ways to show your appreciation. A subscription/follow costs nothing.
It also costs nothing to like/subscribe to the YouTube channel attached to the podcast I am part of - https://www.youtube.com/channel/UCErkxBO0xds5qd_rhjFgDmA
Or you may have a couple of quid to throw at me, in Ko-fi form - https://ko-fi.com/kevinmatthews

City Heat (1984)

Perhaps they weren't at their highest height, but in the early '80s you would struggle to find two cinematic superstars more iconic than Clint Eastwood and Burt Reynolds. Don't get me wrong, we still had plenty of cinematic icons alive and well, but they weren't seemingly at the peak of their powers, whereas Burt and Clint absolutely were. One was The Bandit, and also just Burt, one was Dirty Harry, and so many other memorable characters. Which makes the idea of City Heat a no-brainer.

This was Tango & Cash five years before Tango & Cash, with the added move of making it a period piece, for reasons I still can't quite fathom (although I admit that a couple of fun gags stem from the whole prohibition-era restrictions).

Eastwood is Lieutenant Speer, Reynolds is a private detective named Mike Murphy. The men used to be partners but it's clear from the opening scenes that there's no love lost between them. Murphy has a partner who has unwitingly gotten himself in too deep with some mobsters, Speer is keeping a detached eye on the situation, mainly by keeping an eye on Murphy.

Directed by Richard Benjamin (who I knew as an actor, mainly from the Saturday The 14th films, but was unaware that he has been behind some fun movies, including The Money Pit, Mermaids and My Favourite Year), and written by Blake Edwards and Joseph Stinson, City Heat is a film symptomatic of many that want to pair up two superstars without really knowing how best to use them. There's simple fun to be had just watching any exchange between the fast-talking Reynolds and the much more laconic Eastwood, and there are some good gags here and there (a running joke about hidden alcohol being one, the other involves Eastwood having a supply of larger and larger firearms), but that's about all this has going for it, which is a great shame for all involved. The script should have been full of better lines, the plotting didn't need to seem so convoluted, and there should have been more thought given to creating set-pieces that could involve the two leads.

Eastwood and Reynolds both do very well, and both are much better than the material they have to work with. Jane Alexander and Madeline Kahn are also very good, playing two women who may be inadvertently dragged into the whole dangerous mess. Tony Lo Bianco and Rip Torn play the two mob bosses at odds with one another, and Richard Roundtree, Irene Cara, William Sanderson, and Robert Davi are among the other familiar faces joining in.

Having not seen City Heat since I first watched it on VHS when it was released in the 1980s, I wondered if it would be better or worse than I recall. It turns out that, despite the age of the film and the much older age of myself, I feel pretty much the same way about it as I did way back then. I'll be interested to hear how others view it.

5/10

Having never really been given any special treatment on disc, I recommend picking City Heat up with this set.

American fans can pick it up on Bluray here.

Sci-Fi September: Blade Runner (1982)

It's maybe not best for me to start my review of Blade Runner by declaring that I don't think it's a perfect movie, and don't rate it as the best sci-fi movie of all time. It's probably worse to declare that it MIGHT not even make my personal Top 10 Sci-Fi Movie list. It might, but it might not. Yet that doesn't stop me from praising the film as an amazing piece of cinema. It immerses viewers in a world that feels so realistic you can almost feel the near-constant rain dripping on your head.

Harrison Ford stars as Rick Deckard, a blade runner who must find and execute four runaway replicants. Replicants are humanoid robots, with some of the latest models being so advanced that they're getting harder and harder to differentiate from real people. The nominal leader of these runaways is Roy Batty (Rutger Hauer), a replicant who has spent a lot of time considering his life and what he has been privileged to see throughout the universe. The movie focuses on Deckard as he does his detective work, yet it also allows plenty of time for all of the main characters to ponder just what makes humans so unique in their efforts to live a long, fruitful life.

Based on a novel by Philip K. Dick (entitled "Do Androids Dream Of Electric Sheep?"), this is sci-fi used in a way to look at our own humanity. In a world in which humans can, essentially, be built, it looks at what, if any, differences there are between life and artificial life. The script, written mainly by Hampton Fancher and David Peoples, spends as much time piecing together the motivations and fears of the various central characters as it does on the standard detective aspect of the tale.

The fact that all of these ideas and moments are set in a world so detailed and realistic is due, in no small part, to director Ridley Scott, who seemed intent on delivering a cerebral, beautiful, modern classic to cinema audiences. The visuals are often sublime, the soundtrack (famously created by Vangelis) is a delight for the ears, and the central performances don't ever give any sign of the famous troubles that plagued the production; let's just say that it was a baptism by fire for Scott working on his first major American operation.

Ford is great in yet another iconic role, and he must look back on his career as one amazing stroke of good luck after another, considering how many movies that he starred in didn't seem destined for greatness. He's suitably world-weary, cynical, and also able to empathise with anyone who just wants left alone to live their life in peace. Hauer may have a lot less screentime, but he makes a lasting impression, mainly thanks to his last scene opposite Ford. Sean Young also makes a lasting impression, playing Rachael, a young woman who doesn't realise exactly what her background is. Brion James, Joanna Cassidy, and Daryl Hannah all do well as the other replicants on the loose, M. Emmet Walsh has an enjoyable small role, and Edward James Olmos breathes down Harrison Ford's neck at the most inconvenient moments. There's also a superb, moving performance from William Sanderson (the second-best in the movie, behind Hauer), playing a "toymaker" who seems to empathise more than most with the creations that he's had a very small role in helping to build.

Books have been written about Blade Runner. Well, if they haven't then they should be (but I'm pretty sure they have). It's layered, it's full of many wonderful little touches, the tech on display feels very grounded in reality, it ruminates on science and the possibility of human souls by finely mixing the two, and much more. My main problem with it, the only reason that I don't rate it as the perfect sci-fi movie so many others see, is that there are scenes that bring the whole thing grinding to a halt. Scenes that feel unnecessary in the grand scheme of things, especially when they get in the way of the momentum that is being built by the strong central strand. Of course, the fact that there are (at least) five different versions of the movie to choose from nowadays probably serves as a reminder of just how many options Scott made available to himself as he tried to capture what he'd envisioned in his mind.

Despite not quite rating it as highly as other fans, I still recommend that everyone gives this a viewing at least once. It's iconic, it's cool, and it's almost fully deserving of the reputation it has.

9/10

http://www.amazon.com/Blade-Runner-Anniversary-Collectors-Blu-ray/dp/B008M4MB8K/ref=sr_1_2?s=movies-tv&ie=UTF8&qid=1411245021&sr=1-2&keywords=blade+runner

You know what you can do if you liked this review, or any of the other reviews here at For It Is Man's Number? If you share and share then every additional reader helps. Connect through Google or Blogger or any way you can, and rest easy in the knowledge that you've made little ol' me a very happy man.

And/or you could also buy my e-book, that has almost every review I've written over the past 5 years. It's very reasonably priced for the sheer amount of content.

The UK version can be bought here - http://www.amazon.co.uk/TJs-Ramshackle-Movie-Guide-Reviews-ebook/dp/B00J9PLT6Q/ref=sr_1_3?s=digital-text&ie=UTF8&qid=1395945647&sr=1-3&keywords=movie+guide

And American folks can buy it here - http://www.amazon.com/TJs-Ramshackle-Movie-Guide-Reviews-ebook/dp/B00J9PLT6Q/ref=sr_1_fkmr0_1?ie=UTF8&qid=1395945752&sr=8-1-fkmr0&keywords=TJs+ramshackle+mov

As much as I love the rest of the world, I can't keep up with all of the different links in different territories, but trust me when I say that it should be there on your local Amazon.